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THE HILL KINK BOOKS 



PATTERNMAKING KINKS 



THE HILL KINK BOOKS 
Compiled by F. H. Colvin and F. A. Stanley 

Associate Editors of the American Machinist 



Each cloth, 4x6, illustrated, 50 cents postpaid 



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HILL PUBLISHING COMPANY 

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6 BOUVERIE STREET, LONDON, E.C., ENG. 

American Machinist — Power — The Engineering and Mining Journal 



THE HILL KINK BOOKS 



Patternmaking Kinks 



COMPILED BY 



F. H. COLVIN and F. A. STANLEY 

'i . . ' . . 

Associate Editors of American Machinist 



1908 
HILL PUBLISHING COMPANY 

505 PEARL STREET, NEW YORK 
6 BOUVERIE STREET, LONDON, E.C. 

American Machinist — Power — The Engineering and Mining Journal 



Copyright, 1908, by the Hill Publishing Company 



UBKARY of CONGRESS. 

TwoOoplei Receive 
J MAR U 1908 

|aU8» A *Xfc Nu. 



Z ' 



COPY 3. 



HVtf Publishing Company, New York, U.S.A. 



INTRODUCTORY WORD 

The kinks and other information given in 
this book have been selected from the experi- 
ence of thoroughly practical men, as originally 
published in the American Machinist. This vol- 
ume forms one of a series of this nature, aiming 
always to make available out-of-the-way infor- 
mation when most wanted. In this form the 
Kink Books, which can be kept in the tool-chest 
or the pocket, and always referred to, will, we 
feel, meet a demand and serve a good purpose. 

F. H. Colvin. 
F. A. Stanley. 

New York, November, 1907. 



fiff 



PATTERNMAKING KINKS 

THREE CENTERS FOR PATTERNMAKER'S 
LATHE 

The sketch, Fig. 1, herewith shows a center for 
a wood lathe which will be found convenient 
when turning split patterns. It is very annoying 
to find, after great care, that the center has 
shifted to one side and that one-half of the 




E £ M 



Fig. 1. — Center for Wood Lathe. 

pattern is thicker than the other, a branch pipe 
pattern, for example. A is a small center pin, 
B a cross pin in A, which moves in the slot and 
prevents A from falling out. C is a collar on A, 
and D a light spring between C and E. In using 
1 



2 PATTERNMAKING KINKS 

this center it is not necessary to make a center 
hole in the wood — simply locate the center with 
a pencil and drop the center point A on it. A is 
not forced into the wood, but backs into the 
driver until the jaws engage in the wood. Both 
head and tail centers are made with spring points. 
Another form of wood-turner's center is shown 
in Fig. 2. The center is particularly useful for 




v 
Fig. 2. — Wood-turner's Lathe. 

split work. To locate the two parts, simply scribe 
around the center points two circles equal in 
diameter to the center and the friction plate. 
The shape of the dished portion tends to draw 
the point closer. The flange A is to enable the 
plate to be " leveled " out of the work. 

This center, Fig. 3, is a combination of the 
two, inasmuch as it has the feature of drawing 
the halves of the pattern together, and it also 



TURNING TOOLS 3 

has the centering arrangement of the other. 
With some it is necessary to scribe with the 
compass circles the same diameter as the center 
and plate, respectively; with mine, this is not 
necessary. The locating center A is placed on 
the center of the pattern and then tapped with 




Fig. 3. — Another Wood-turner's Center. 

a hammer on the end of the taper shank, which 
is reduced a little so as not to burr the bearing 
part and so spoil the fit. The lever hole B is for 
taking the center out. A trial of a center of this 
description will prove its merits. 



TURNING TOOLS FOR PATTERNMAKERS 

Nowadays patternmakers make tool-chests as 
small as possible and at the same time carry all 
the tools they require by economizing in size of 



4 PATTERNMAKING KINKS 

handles, etc. A set of good turning tools is 
handy and necessary, but few like to lug them 
about in the tool-chest owing to the amount of 
room required. A very neat set of turning tools 
can be made from JxJ inch, JxJ inch and |xl 
inch tool steel; each tool is about 15 inches long 
and shaped on both ends. Some object to the 











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Fig. 4. — Turning Tool for Patternmakers. 

double-end tool as being dangerous to work with, 
but with the handle shown the objectionable fea- 
tures are overcome. Fig. 4 shows the idea, and 
the reader will see that the tool reaches almost 
to the end of the handle, which is made a snug 
fit so that it may be slipped on and off. The 
handles can be made of wood or leather, one for 
each size of steel. 



THE PATTERNMAKER'S LATHE 5 

THE PATTERNMAKER'S LATHE 

Not every shop possessing a patternmaker's 
lathe is deriving the good from it which might 
be obtained, simply through the lack of proper 
tools and accessories. 

By a patternmaker's lathe, in distinction from 
an ordinary hand or speed lathe, we mean one 
with a movable carriage, having a slide or com- 
pound rest attached, holding a tool-post. An 
ordinary rest-holder and set of rests usually go 
with one of these lathes in addition, but many 
believe in discarding this feature entirely, and, 
when using ordinary hand tools, just place a 
plain bar in the tool-post and use this for a rest 
instead; for it does not pay to be continually 
changing the rest-holder. Even this will not in 
all cases be necessary, for it often happens that 
when some corner is to be rounded or fillet made, 
which cannot be conveniently done with the tool 
in the tool-post, a hand tool can be • used to 
finish the place by holding it right on this fixed 
tool in lieu of a rest. 

It is not every job by any means that can be 



6 PATTERNMAKING KINKS 

most economically done with fixed tools, and here 
is where good judgment and common sense must 
take their turn, using the carriage and slide-rest 
where time can be saved, and the hand tools 
when their use will be the most expeditious. 

Often a combination of both ways on the same 
piece of work is best. For very small turning, a 
regular speed lathe is of course the handiest. 
But, to return to the subject, let us examine the 
patternmaker's lathe somewhat closely, and try 
to note a few features that will help to do accurate 
work quickly and easily. 

One with a swiveling headstock is far ahead of 
those of the fixed type, and it should move 
through an arc of at least 3 degrees each side of 
the mark, and when at this mark it is a most 
excellent plan to have it located by a taper pin 
set just back of the index mark on the movable 
portion of the headstock. This makes the setting 
sure before the screws are tightened, without 
relying on graduations which a careless workman 
will occasionally fail to match properly, and then 
the work done by the carriage is sure to be 
tapering. We know of two shops, each having 



THE PATTERMAKER'S LATHE 7 

one of the most widely known makes of pattern- 
maker's lathe, that have had the taper plug fitted 
themselves, because the makers did not. 

It has been our experience that, on general 
pattern work, the tailstock will not be set out of 
line once in fifty times compared with the head- 
stock, for the latter is constantly being shifted 
to get the necessary draft on all face-plate work 
of any depth. The compound rest on the car- 
riage should swivel, and be provided with grad- 
uations from to 90 degrees in each direction, to 
facilitate such turning as gear blanks, etc. 

About the most important feature, outside of 
the bare lathe itself, is the question of tools for 
the tool-holder. We have had a chance to see 
and study the effect of quite a number of shapes, 
in the different shops, but have not seen a style 
that will cut smoother and faster than these. 

Fig. 5 is a roughing-out tool. The cutting 
edge should slant downward somewhat as it ap- 
proaches the end or tail, to give a drawing cut, 
and the outside face ought to overhang at least 
10 degrees from a perpendicular all the way 
around, so as to take hold nicely at the very 



8 PATTERNMAKING KINKS 

edge, and not have any point of contact below 
where it is doing work, to retard its action. An 
emery wheel about 8 inches in diameter gives a 
good concave to the outer face, and when this 
tool has a few finishing touches with an oil stone, 
it is surprising to see the heavy chips it will take 
from a rough piece, without even previously 
removing the corners. 

Fig. 6 shows the "arrow point" tool for 
finishing, and it should be set slightly angling to 
the work. When properly sharpened it will cut 
almost as smooth as glass, and on straight work, 
like rolls, etc., it works as nearly perfect as one 
could wish. The action, it will be noticed, is 
similar to a wood-turner's skew chisel. 

Fig. 7 is a cutting-off tool, which does not tear 
and scrape like the ones generally used, that are 
flat on top. It is intended to be sharpened on 
an emery wheel, about 6 or 8 inches in diameter, 
and then be touched up on an oil stone, as in 
fact are all of them. The curvature on the upper 
side of this tool allows it to enter the work easily 
and take a fast cut, while the curve below re- 
moves the stubbed end frequently seen on tools 



THE PATTERNMAKER'S LATHE 




10 PATTERNMAKING KINKS 

of this class. One of these tools, made in every 
respect like Fig. 7, except with a wider cutting 
face, is excellent for shouldering down on work. 
With it a number of cuts can be made down to 
almost the diameter required, then get the exact 
diameter, and finish by moving the carriage 
along. The tool cuts quite smoothly moved 
along in this manner, but not quite as well as 
the "arrow point." 

Fig. 8 is a boring tool, and there should be 
one right and one left. We have used tools of 
this shape a great deal, and for deep boring 
know of nothing better. They also work equally 
well on outside work and are especially useful 
when the piece being turned is too large in diam- 
eter to slide the carriage along under it, for it 
can be placed in the tool-post in such a manner 
as to overhang a long distance, and work clear to 
its limit. 

Fig. 9 is a nice tool for facing off segments and 
the surface of any disk which may be on the 
face-plate. It works quite well also when turning 
on the outside diameter, but is especially for 
facing. 



THE PATTERNMAKER'S LATHE 11 

Fig. 10 is a boring tool which is useful in holes 
of small diameter where the one shown in Fig. 8 
cannot be conveniently operated. Fig. 11 shows 
a tool for general work, which is good for smooth- 
ing and shouldering down. It will be noticed 
that it has two cutting edges which can be used, 
and the top is shaped by the curve of the emery 
wheel something as in Fig. 7. The angle of the 
point should be less than a right angle, as, if so 
made, the tool can be set so as to be started in 
with the slide-rest, and then be stopped and 
moved along by the carriage. A much deeper 
chip can be taken with this tool when the car- 
riage is moved than with the one shown in Fig. 7, 
as its action is more of a drawing cut. 

We want to find a little fault with the spur 
and cup centers, as sometimes sent out by the 
makers with a new lathe, and will give our 
reason for it: The spur or point in each of these 
is apt to be too large. A very large percentage 
of work performed on a pattern-making lathe 
between centers is done in halves, and it is very 
important indeed that the lathe center comes 
exactly in the joint between the halves men- 



12 PATTERNMAKING KINKS 

tioned. In work of this nature it is the outer 
spur points of the live center and the ring of the 
cup center that, in addition to its other fastening, 
holds the work, and not the central point. The 
action of this latter is, if anything, to spread the 
pieces apart, and it is useful only as a guide in 
correctly placing the lathe centers in the piece to 
be operated on. For this reason they should be 
a little longer than the rest of the center, taken 
as a whole, and be slender points, so that they 
can be pressed easily between the halves of the 
work, and so that when removed the eye readily 
detects if they are out at all. In placing centers 
in work when in halves, it is safer to take each 
center and put it into the piece before placing it 
in the lathe, and then look to see if the slender 
point is exactly on the dividing line, and if it is, 
drive in the center with a blow from a lead 
hammer, and transfer to the lathe. This gives 
a chance for adjustment at a time when the 
work can be easily seen. 

We actually knew of a spur center of the style 
shown in Fig. 12 being put out by a prominent 
lathe firm, in which the entering point was J inch 



THE PATTERNMAKER'S LATHE 13 

in diameter where it gives into the solid part of 
center, and tapered to a point ^f beyond the 
ends of the four knife spurs, and the diameter of 
this center in the largest part was but 1J inches. 
It is really cruel to a small piece of work in 
halves, to force such a mass of steel between the 
pieces when it cannot help to hold them together 
in the slightest degree. 

A cup center, Fig. 13, should be straight on 
the outside and beveled on the inside to a slender 
edge or ring. This form has the action of a 
pinch-dog to some extent, and helps somewhat 
to hold the two parts from separating. An oil 
hole should be provided as at A, and the center 
always be placed in the tailstock with this 
uppermost . 

Face-plates having a shank in the middle for 
centering and chucking work, as shown in Fig. 14, 
are used in some places, and cannot be too highly 
recommended, especially on pulley and gear blank 
work, etc. The best form of this that we have 
ever seen is the threaded kind. The shank 
proper is standard size (f inch diameter) its 
whole length, and should not project less than 



14 PATTERNMAKING KINKS 

J inch nor more than f inch, and around this 
shank or spindle is a very thin thread like a 
knife edge, at the rate of 8 to the inch, and 
the more like a knife edge this thread can be the 
better, for then it will not injure the hole in the 
work in the least, by throwing it out of center, 
or hurt it for receiving core print shanks or 
plugs of any kind. It is better to have this 
thread start at least T x g- inch back from the end, 
so that the hole in the work can be squarely 
placed before commencing to screw it back against 
the face-plate. 

It will be found that a vast deal of work can 
be done without using any wood screws through 
the face-plate to help hold, relying only on the 
threaded shank. 

Sometimes this centering principle is needed to 
be used in connection with some face-plate not 
fitted with this device, in which case have a 
lathe center made as in Fig. 15, with the end 
fixed exactly like the one in Fig. 14, so that it 
can be used equally well with all the face-plates 
belonging to the lathe, and projecting beyond 
them the same distance. When this latter scheme 



TOOL-POST FOR PATTERN SHOP 15 

is employed, wood screws can also be used to 
help hold when the work is large, but of course 
must be put in and withdrawn while the face- 
plate is in the lathe, in its position against the 
collar on the spindle. 

A knob cast or screwed on the end of a long 
rod, as in Fig. 16, is useful to have within reach 
for a rammer, to put through the spindle in 
removing centers. It is handier than a plain 
rod, and the additional weight gives it a more 
effective blow. 

Finally, we would like to impress the impor- 
tance of never hammering or pounding anything 
connected with the lathe, except with a soft 
hammer. A lead hammer of convenient size 
should always be kept about a lathe, as one of 
the accessories, just as much as the tools and 
face-plates. 

TOOL-POST FOR THE PATTERN SHOP 

The accompanying print shows a tool-post 
made for use in pattern and machine shops. 
The point of this post is, that no matter what 



16 PATTERNMAKING KINKS 

the position of the tool may be, the set-screw has 
a direct bearing, as can be plainly seen in Fig. 17. 

This view shows the post complete with the 
tool set to the highest point, the dotted lines 
indicating the lowest position of the tool. 

Fig. 18 shows the post without the nut, set- 
screw and tool. The post and nut in this case 
were made of cast iron, but could be much 
lighter, and the button D cast solid, if made of 
cast steel. 

The nut A, Fig. 19, is free to find its own 
bearing when the set-screw is tightened, and the 
only finish required is to tap out for the set-screw. 
It cannot drop out when once put together — 
thus avoiding a bad feature of some posts, and 
has no pivot pins to wear. The nut could be 
made spherical, but in that case would have to 
be flattened on one or two sides to prevent it 
turning. 

This post gives very good satisfaction, espe- 
cially in the pattern shop, as it holds the tool 
perfectly tight and allows it to be neatly adjusted 
to the entire satisfaction of every crank of a 
wood butcher. 



TOOL-POST FOR THE PATTERN SHOP 17 









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18 



PATTERNMAKING KINKS 



A CORNER ROUNDING TOOL FOR 
PATTERNMAKERS 

The sketch, Fig. 20, shows and practically 
tells all about a corner-rounding tool for pattern- 




Fig. 20. — Tool for Rounding Corners. 

makers. The cut can be taken from the heel, as 
shown, or from the toe — that is, by either push- 



A HANDY TOOL-CHEST 



19 



ing or pulling — and by tipping up or down the 
amount of cut is regulated. It is one of the 
most useful tools for a patternmaker's kit. 

A HANDY TOOL-CHEST 

In Fig. 21 is a sketch of a tool-chest that is 
very practical and convenient. The sketch shows 




Plan 



7^<g 



7^g[ 




•Front Elevation 
Fig. 21. — A Patternmaker's Tool-Chest. 

how the drawers are shaped, made in quarter 
segment and just deep enough to hold the tools 



20 PATTERNMAKING KINKS 

without putting one on top of the other. Each 
drawer has an ornamental brass hinge which also 
serves the purpose of a corner bracket. The 
hinges swing on a 4-inch rod, which extends 
from top to bottom of box. 

The drawer pulls, as shown, serve two purposes: 
to open one drawer at a time, or all at once. 
This latter is accomplished by a brass plate, as 
shown, which has a hole drilled near one end 
through which the pull in the upper drawer 
passes. The plate is made long enough to ex- 
tend down to pull on the lower drawers. When 
in a vertical position the plate is under all the 
drawer pulls, which thus provides a means of 
opening all the drawers at once. 

Before building the chest make a sketch of the 
drawers full size. This shows how large to make 
the chest, which can be put together according 
to the ideas of the maker. Opening in the front, 
the chest is intended to be placed on or under 
the bench as preferred. It should be large enough 
to hold all the tools a patternmaker needs, but 
no larger than necessary. 

As shown in the sketch, all the planes, saws, 



A PORTABLE CASE 21 

etc., are put in the back of the chest and can be 
reached at once. 



A PORTABLE CASE FOR PATTERN- 
MAKERS' TOOLS 

Some patternmakers use a trunk as a tool- 
chest. This has a nice appearance to one trav- 
eling, but when moving around, a fellow does 
not always find all the modern conveniences, 
and quite often he has to use his tools right from 
whatever he brings them in, so he should have 
something easy to get at. 

Fig. 22 shows a case of drawers which is handy. 
At the end of the bench it serves simply as a 
case, and if there is not room it will go under 
the bench out of the way, still being convenient. 
There is not so much trouble making one as in 
making a chest, and it does for case and chest 
combined. It is surprising how much can be 
gotten into a very small space without crowding 
at all, if calculated right. The top drawer is just 
the depth of the saws, the bottom one deep 
enough for a jointer, and all of them long enough 



22 



PATTERNMAKING KINKS 



for the longest saw. When traveling, the front 
is locked and screwed on, keeping everything in 
place. It is a most convenient arrangement for 
traveling patternmakers. 





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Fig. 22. — Portable Case for Patternmakers' Tools. 



A PATTERNMAKER'S T-SQUARE AND 
SCRATCH-GAGE 

Here is a sketch, Fig. 23, of a patternmaker's 
T-square head to use with a steel rule. At the 
end of the blade and at the right is shown a clip 
to be used in combination with the square as a 
panel gage. 



HANDY THINGS 



23 



The point on the clip comes up against the 
end of the rule, and it can be easily set to any 
desired size by the graduations on the rule. A 



Piece of Saw Steel for 
Clamping Gib, 




Fig. 23. — Patternmakers' T-square head and scratch 
gage. 

clip of the same kind in combination with a 
Starrett combination square would make a very 
handy bench gage. 



HANDY THINGS FOR APPRENTICE 
PATTERNMAKERS 

While serving our time in a pattern shop we 
were always looking for handy as well as useful 
tools. Once when making a half-round core 



24 PATTERN MAKING KINKS 

box about 2 inches in diameter, when it was 
sandpapered it was measured and found that a 
little too much had been rubbed on the edges 
and consequently it was not a true box and was 
out of size. Well, of course, a first-year boy 
does not always know just how to remedy a 
mistake, except to get out a new piece of stock. 
A journeyman working near saw the trouble and 
showed what he called a "blind center," and sug- 
gested in making one like it to lay out the ends 
again and plane the box deeper and dress off the 
top to correspond. 

Fig. 24 shows the blind center. Take a piece 
of maple or cherry, say about 10 x f by T 7 g inch 
thick, and space it off in sixteenths. Next glue 
on a small piece at the middle the same thickness 
as the stick; about f diameter is large enough. 
Then take a small point and prick a hole in the 
joint of the two pieces half-way from each end 
cf the long piece. In using this, place the stick 
across the top of the box, being sure to get it in 
the center, then set your dividers in the center 
hole and you can scribe a half-circle on the end 
of the box. 



HANDY THINGS 25 

Fig. 25 represents a very inexpensive depth 
gage. A piece of hardwood 5 inches long and 
J inch square, and a 3-inch nail compose this 
very useful tool. Drill three holes, a very little 
smaller than the size of the nail, one about 
f inch from each end and one in the center. 
The nail can be used in either hole, as the case 
calls for. When the nail works too loose, just 
get out a new piece. 

Fig. 26 is a handle for "German" or "Dia- 
mond" bits. Take a piece of f-inch dowel, drill 
a J-inch hole equidistant from each end, and 
chisel a tapered square hole to fit the ends of 
the bits. This handle can be used in places too 
small for a brace. 

Fig. 27 is simply an extension for the shank of 
a bit to be used where a very long shanked bit is 
needed, and you have none. Take a f dowel the 
length needed, chisel out the end to fit the end 
of the bit, and dress off the other end to fit the 
bit stock like an ordinary bit end. It is well to 
bind a piece of wire around the end which fits 
over the drill to keep it from splitting. 

Fig. 28 represents a very handy marking gage. 



26 PATTERNMAKING KINKS 

A piece of maple f xlx5 inches makes the 
upright , and a piece f x f x 6 J inches makes the 
arm. Lay out the hole for the arm about f inch 
from the end through the widest side and cut 
out so that the arm can just slide through freely 
and not have a chance to twist. Then lay out 
on the narrow side the hole for a wedge of maple 
f inch thick, tapering from J to J inch. Have 
the top of the hole just cut through the lower 
part of the hole for the arm. In making the 
wedge have the taper all on one side, leaving the 
top side straight. Use a piece of y 1 ^- inch diam- 
eter tool steel for the scratcher on the end of 
the arm about an inch long. Sharpen this as 
you would a pencil, wedge-like, having the flat 
part parallel with the front of the upright. You 
can sharpen it so that when it is used it will cut 
a hair line. That is one of the points which 
show neat workmanship. Round the back side of 
upright for inside curves. 

Fig. 29 is a small blade holder. It is very 
unhandy to have to hold small blades, such as 
small planes, spoke-shaves and scraper blades, in 
your hand while grinding and whetting. This 



HANDY THINGS 27 

handle takes the place of that and is very simple 
to make. Take a piece of maple about 1^ inches 
square, 6 inches long. Turn the handle, leaving 
about 2\ inches for the blade holder. Work this 
off on two sides to about 1 inch thickness, and 
then taper it down to ^ F inch. For the width 
you have about 1J inches, and taper this down 
to about 1J inches. Put a slit with the bandsaw 
in the width so that you can put in the blades. 
Next get a machine screw, nut and washer. 
Drill a hole through the holder at right angles 
with the slit, the size of the screw, then set in 
the nut on the under side and the washer on the 
top side. Put in the screw, tighten with a screw- 
driver and you have a neat and useful tool. 

Fig. 30 is another monkey gage which is used 
a great deal. Take a piece of maple 2 x 1 x 7\ 
inches, and with an inch radius make the end 
half round. Next cut a groove in the back 
T % inch deep and \\ inches wide, the length of 
the piece. Next take the center of your 1-inch 
radius and drill a f-inch hole through. Get a 
f-inch maple dowel about 9 or 10 inches long, 
and fit it so that it will just slide through and 



28 



PATTERNMAKING KINKS 



not twist. Take a piece of tool steel about 
5 x 16 inch diameter, and sharpen the same as 
the other point. Put it through the dowel about 
J inch from the end. Set in a loose shoe so that 
it will just rest on the dowel. For length have 



A 



FIG. 24 



FIG. 25 



FIG. 26 FIG.27 



1 — 


"D" 


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FIG. 28 

FIG. 29 

Home Made Apprentice Tools. 

it about J inch long, so as to make a groove to 
keep it from sliding in and out when the arm is 
moved. Set in a piece of brass about T ^ inch 



PATTERN SHOP WRINKLES 29 

square, T \ inch thick, just above the shoe, which, 
by the way. should be made of boxwood or 
lignum- vit se. Xext get a thumb-screw long 
enough to set down on the shoe. Drill a hole 
through the top end of the upright as far as the 
shoe, then tap for the same thread as the screw. 
This makes a very useful gage where you have 
to scribe a line OA~er a bead or other upward 
projection. 

PATTERN SHOP WRINKLES 

Figs. 31, 32 and 33 show methods of making 
dowel rods. In Fig. 31 there is simply an iron 
or steel block with holes, and the sticks, sawed 
and planed approximately to size, are driven 
through with a hammer. Fig. 32 is a piece of 
j-inch thick tool steel with lips filed out as 
shown, and then hardened. The wood pieces 
are held by one end in a chuck in the lathe, and 
the steel is held in the hand and pushed against 
the dowel stick. This is an improvement on 
Fig. 31, but not equal to Fig. 33. This latter 
shows a casting A which answers for any given 



30 PATTERNMAKING KINKS 

size dowel by having the hole B drilled through 
it 3L- inch larger in diameter, for clearance, than 
the size of the work required. But one cutter, 
C, is needed for a whole set of these holders. 
The cutter has a slot D through which passes a 
screw, thus holding it in place on the handle. 
The holder A is countersunk at E enough to 
start square sticks easily, and the cutter must be 
adjusted by trial until the dowel comes out the 
exact size required. It will be seen that the 
knife is not flat, but angular, and the cutting is 
done by the edge F, which is ground so as to be 
slightly in advance. To operate, have the stick 
previously sawed square about ^ inch larger 
than the finished dowel, and hold one end in the 
lathe. This is easily done by putting a block on 
the screw chuck, and making a square hole in 
the center to admit the sticks. Hold the cutting 
tool in the right hand, and push firmly against 
the stick as it is revolved by the lathe. This 
simple tool will be found to make very good 
dowel rods quite rapidly. 

Fig. 34 is but a block of wood to hold in the 
vise when clamping wedge-shaped or tapering 



PATTERN SHOP WRINKLES 31 

pieces of any kind. It can also be used against 
a curved piece of work, if the radius of the curve 
on block is less than that of the other. On 
straight work that has a taper, simply place it 
in the vise with the flat side of the block against 
the piece. The round part makes a contact with 
the jaw of the vise at the proper point without 
further thought, and the work is held easily and 
firmly. 

Fig. 35 is a wood cone to fit the screw chuck 
in the lathe, and is covered with emery to use in 
sharpening gouges. These are commonly made 
with a straight taper, but, by making them 
something of a cartridge shape, like the figure, a 
slight concave is given to the tool while grinding. 

Fig. 36 shows an improvised pair of calipers 
for heavy work, made by placing two large squares 
together. They can be held firmly by two small 
hand-screws, as indicated. 

Fig. 37 is a rack to place beneath the pattern- 
maker's lathe. It should stand on the floor next 
the leg, and is to hold face-plates of all ordinary 
sizes. The first face-plate stands crossways of 
the rack, having two bearing points here, and 



32 



PATTERNMAKING KINKS 



the lathe leg itself does for the third. The other 
face-plates rest against each other in the same 
manner. A rack like this will accommodate 




Wrinkles for Pattern Shop. 
quite a number, and keeps them off the 
floor. 

Fig. 38 is a handy rest to use in the tool-post 
of a patternmaker's lathe when using hand tools. 



GAGE FOR A BUZZ PLANER 33 

On many jobs the angle increases its usefulness 
to a large extent. 

Fig. 39 illustrates an extending or telescopic 
trammel bar. The part A is a hollow brass tube 
rectangular in section. E is of wood fitted per- 
manently to one end of the tube, the part of it 
shown at B being flush with the brass all around. 
D also is of wood shouldered at one end, and 
made to slide freely in the tube. It is ordinarily 
in the position shown and held by a screw. 
Part C is one end of D made flush with the 
brass the same as B. In striking an extra long 
radius, slacken screw F, extend the bar as much 
as necessary, then tighten the screw, and adjust 
points as usual with the thumb-nuts. 

A THICKNESS GAGE FOR A BUZZ 
PLANER 

The patternmaker often has to do side jobs 
not exactly in his legitimate line, but which are 
brought on by it. Ten years or more ago we 
had occasion to make a case of small drawers to 
go on an automatic silk-winding machine. There 



34 PATTERNMAKING KINKS 

were quite a number of these drawers to be 
made, and f-inch stuff was called for on the case 
and all. As there was no cylinder — or dimen- 
sion — planer in the shop, the only one being a 
buzz planer, we saw that the circular saw was to 
be followed by a large amount of tedious hand 
planing, and the thought kept revolving in the 
mind as to whether there was not some possible 
way in which the pieces could be brought to aN 
thickness on the buzz planer. 

So we began to experiment a little. Taking a 
piece of 2-inch hard pine, perhaps 4 inches wide 
and long enough to reach across the width of the 
planer, then nailing a strip f inch thick across • 
each end, we clamped down the whole affair to 
the planer table with large hand screws, the strips 
bearing on the table and leaving a f-inch space 
between it and the pine strip. The affair was 
clamped to the table just beyond the knives, a 
part of it being directly over the back table and 
a part of it over the cutters and throat. 

The table in front of the knives was lowered 
as far as possible (about J inch) and a piece of 
work to be planed to thickness was held entirely 



GAGE FOR A BUZZ PLANER 



35 



away from this, but firmly under the edge of the 
hard pine bridge above, and pushed ahead until 
the end had passed the knives and rested on 
the back table. Then trouble began. The piece 
would stick and object to going ahead. It was 
found necessary to cut away clearance on the 
under side of the bridge strip, leaving but a 
narrow portion of it, the given f inch in hight, 




Fig. 40. — Adjustable Thickness Gage for Buzz Planer. 

coming directly over the edge of the back table 
beyond the cutters. After this was done things 
worked nicely and the job was completed. 

The success of the crude affair led to the 
making later of the device shown in Fig. 40, 
consisting of two posts clamped to the planer 
bed, just beyond the cutters, on which posts 
moved the bridge, which could be adjusted to 
any hight and securely held by two small hand- 



36 PATTERNMAKING KINKS 

wheel tightening screws; the other two tightening 
screws, which were used to clamp the posts, being 
those ordinarily used to hold the fence in position. 
Fig. 41 is a hight gage, being simply a piece 
of cast iron, about f inch thick, with the bottom 
and large end planed square and having steps 
milled on the incline, running by sixteenths from 
2 inches downward, with the different sizes 




Fig. 41. — Cast-iron Hight Gage. 

stamped on with steel figures opposite the steps. 
This was set on the planer table and slipped 
under the gate as a gage for any desired thickness 
of work. When the gage stood on end, it showed 
any hight by intervals of J inch. 

Now for a word of caution: This device is not 
intended as a substitute for a dimension or pony, 
planer, when the work of a shop will warrant the 
latter; but it will help out for occasional use. 



GAGE FOR A BUZZ PLANER 



37 



There is a knack in using it, and it may look a 
little dangerous at first, but the one just described 
was used as occasion required, for six or seven 
years to our knowledge, and no one was ever 
injured by it ; it is probably still in use. 

Short pieces less than a foot long should 
not be tried, neither do boards more than 8 or 




Fig. 42. — The Gage in Position. 

10 inches wide work well, if very thin. One- 
sixteenth of an inch is the limit for a chip, and 
the planer must be stopped and the bridge low- 
ered for each reduction in thickness. 

To operate, first screw the device in place and 
set to the desired hight, Fig. 42, and lower the 
front table as much as possible. Then start the 
machine and hold the work level, with the front 



38 PATTERNMAKING KINKS 

end of it firmly against the bottom of the gate 
and push it ahead. It now passes the knives 
and slides along the back table, and all the while 
the piece is being planed it must be held with a 
gentle pressure upward, so as at all times to be 
in contact with the bridge; for if it is not, it will 
be gouged into by the knives, and the work will 
become uneven in thickness. 

When the back end of the piece approaches 
too near the cutters to be held safely, simply 
grasp the part already passed and draw it 
through. By this time there will not be enough 
left in front of the knives to sag and cause the 
trouble just referred to. 

GAGES^R® PATTERNMAKING — FIXING 
UP A CASTING FOR A PATTERN 

Fig. 43 shows a tool which proves in practice 
very useful for pattern shop and foundry work. 
The pillar is made of pear wood, about | inch 
thick, with slot c cut in the pillar to allow the 
setting of arm d to any fractional part of 12 
inches. This arm also is made of pear wood, 



GAGES FOR PATTERNMAKING 



39 



f inch thick, the shoulder a e , together with pegs 
1 and 2, sliding along the inner and outer edges 
of the pillar and keeping the arm at right angles. 
Slot e and sliding grooves / / are cut in the arm 




Fig. 43. — Patternmakers' Gage. 



to allow the adjusting of scriber bar g, the point 
of which on the under side projects about T \ inch 
below the arm, on the upper edge indicating the 
distance. We give one simple illustration of the 



40 



PATTERNMAKING KINKS 



manipulation of this tool. It is required to mark 
a center line along a 12-inch pipe pattern the 
half of which is shown. The half pattern is 
placed on the surface plate, the sliding bar and 
scriber are fixed in position, the base is brought 
in contact with the edge of the pattern and the 
gage is then drawn along the pipe to the required 
length. 




Fig. 44. — Combination Tool for Patternmakers. 

Fig. 44 is a sketch of a tool made some time 
ago for general use in the pattern shop. It is 
found to be very useful for outside work, such as 
pipe work, templet making, etc. It is a combi- 
nation of square, bevel square, plumb, spirit level, 
center square or radius finder, protractor and 
2-foot rule. 



GAGES FOR PATTERNMAKING 



41 



Fig. 45 is a sketch of a bridle and plunger for 
a 10 x 12 inch pump. A short time ago it was 
necessary to have this plunger put in the lathe 
to be turned for a brass sleeve, but the first cut 
revealed a secret. Evidently the core at a had 
yielded to the pressure of the metal to within 
about i inch of the surface. The stoppage was 




Fig. 45. — Casting Fixed up for a Pattern. 

a serious matter, and making a new pattern was 
out of the question, so it was resolved to make 
the best use of the existing casting as a pattern. 
The first thing was to drill and tap tw T o J-inch 
draw-holes, 1 and 2. The parts on each side of 
the bridle were next blocked up and sufficient 
bearing allowed on each side for cores c and d, 



42 PATTERNMAKING KINKS 

as indicated by the dotted lines. The plunger 
was next lagged with strips of wood, about 
J inch in width and of the required thickness; 
these were held in place with a couple of thin 
wires. Drop print b was placed in position and 
the pattern was ready. The casting produced 
gave all satisfaction, and in less than thirty 
hours' time the pump was again at work. 

A PATTERN LETTER MOLD 

Here is a sketch of a lead pattern letter mold. 
In making the mold use good ; clean-cut letters — 
brass letters preferred. The wood part or mold 
frame is made of cherry wood, and the mold of 
sifted plaster of Paris. Make the frame good, 
true and strong and you can have at any time on 
short notice a mold that will turn out very 
satisfactory lead letters. Don't ask an appren- 
tice boy to make the mold frame or mold, but 
when the mold is made you can keep him busy 
pouring the molds and trimming letters. 

In Fig. 47 A is a cherry board, 1 inch thick, 
perfectly true on the letter face; C, a stiffener on 



A PATTERN LETTER MOLD 43 




44 PATTERNMAKING KINKS 

the end. Shellac A and then put the letters on 
in the usual way. B F is & box frame, the sides 
about J inch from the edges of the letters and 
1 inch deep. R R R are runners from gates G to 
the letters. ' Cut the runners in with a chisel 
after the mold is made, about T \ inch wide at 
the gate, tapering and just large enough at the 
letter to allow the mold to fill without chilling. 
If the mold does not fill, the cause is that the 
runner is not large enough. Place a piece of 
wood, as in Fig. 48, tight to the face of the mold 
and pour in melted lead, then shake out and 
trim. To melt the lead use a large spoon and 
heat with an alcohol lamp, placing small pieces 
of lead in the spoon. A little frame to hold 
spoon and lamp can be made and kept for the 
purpose. If the lead does not melt fast enough, 
put a small piece of wax in the spoon. After the 
lead is melted skim off the dross and then pour. 

SMALL PLANES FOR PATTERNMAKERS 

Having run across a number of small planes 
of the dimensions shown in sketch, Fig. 49, a 



ROUXD-SOLED PLAXE 



45 



wide-awake patternmaker took them to the shop 
and planed the bottoms to the radii, as shown, 
and from an old file made blades or knives to 



4 



■*■! 







Fig. 49. — Cheap Planes for Patternmakers. 

suit. These worked so well that he ordered five 
more at his hardware store. Now he has a neat 
set of core-box planes which take up little space 
in his tool-chest. 



ROUND-SOLED PLANE FOR 
PATTERNMAKERS 

Here is a sketch of a round-soled plane for 
patternmakers that was devised some years ago. 
The plane is of cast iron, and the wooden soles 
are removable, being of different radii to suit 
requirements, the "iron" also being changed 
with the sole. The sketch, Fig. 50, readily ex- 
plains itself. The large portions cf the slotted 



46 



PATTERN MAKING KINKS 



holes a a are big enough to clear the heads of the 
wood screws b b, thus allowing the sole to be 
slipped off and on. When driven home, the 
taper on the heads of the screws b b tends to keep 




p 



Fig. 50. — Round-Soled Plane with Changeable Soles. 

the sole snugly in place. If desired, a plane like 
this can be improvised out of an old wooden 
jack plane, by inserting in the bottom of the 
jack plane and flush with it plates having holes 
corresponding to a a. 



COMBINATION TOOLS 



47 



COMBINATION TOOLS FOR THE 
PATTERNMAKER 

The patternmaker's combination tools shown 
in these sketches cannot be carried in the vest 
pocket and still leave room for a dollar watch. 
They have some virtues, however, that will com- 
mend them to the itinerant members of our 
craft, and perhaps to some of the "fixtures." 




Figs. 51 and 52. — Combination Tools for Patternmakers. 

Fig. 51 shows how two sizes of iron planes can 
be made to each serve a dual purpose, the smallest 
block plane A and the jack plane B and C being- 
converted into sole planes for use on curved 
work — such as lags and circular core boxes — 
by filing out a dovetail at the mouth of and clear 
across the face of the plane, to allow space for 



48 PATTERNMAKING KINKS 

the shavings to pass freely when used as a sole 
plane. It will be found that the angle of the 
plane iron makes it necessary to provide addi- 
tional room, hence the width of the dovetail is 
determined by the thickness of the soles used, 
which should never be more than § inch on the 
jack plane and T 5 g inch on the block plane of the 
size shown. At C is shown the dovetail fitted 
with a piece of cast iron or steel so that the 
plane can be used as originally intended. The 
" tadpole" holes shown at the ends, and used to 
fasten the soles to the body through the medium 
of button-head screws, are not of sufficient size 
to cause trouble when "jacking" stock. In 
making the soles, leave enough stock at the ends 
so that after fitting to match the tadpole holes, 
lines can be scribed to conform to the shape of 
the plane outside, and to the width and length 
of the mouth inside. 

Fig. 52 shows a tool that also is a space saver, 
as it can be used as a surface gage, straddle gage, 
depth gage for lathe work, panel gage and router. 
The body or base is made of hardwood 7 \ x 2 x 1 
inches, with three J-inch holes drilled through, 



COMBINATION TOOLS 49 

one in the center, one | inch from one end, and 
one 1^ or 2 inches from the other. The purpose 
of spacing the end holes differently is to provide 
for the innate cussedness of inanimate pattern 
work. The sketch shows the tool as used for a 
surface gage. Without dismantling it will prove 
itself a straddle gage as well, for scratching lines 
on surfaces inaccessible to the ordinary scratch 
gage, by using the upper face of the body and 
adjusting the scriber bar to the desired clearance 
for hight. If a fine adjustment of the scriber 
point is wanted, bend the bar slightly at the 
center; then, by turning the same around by the 
aid of the right-angled end, almost any adjust- 
ment can be obtained. By slipping off the 
sliding clamp, a depth gage for turning deep 
work of small diameter results, and by substitut- 
ing an extra long beam for a panel gage, and 
with the usual shaped cutting tool for a router 
set in either of the three holes. It will be seen 
at a glance that this is a handy tool to own. 
The gage beams should be made of J-ineh brass 
pipe, and ordinary slotted head steel wood screws 
are good enough to clamp the same to the body. 



50 



PATTERNMAKING KINKS 



A FACE-PLATE FOR WOOD-TURNING 
LATHES 

The sketch, Fig. 53, shows a face-plate for 
wood-turning lathes which has been found very 
useful in making patterns and core boxes for 
such goods as globe and angle valves, cocks, etc. 
It consists of a face-plate which screws on the 
lathe spindle in the usual manner, with the addi- 
tion of another plate fastened to the first by 




Fig. 53. — Face-plate for the Wood-turning Lathe. 

screws and held true by the rim on the back side 
which is bored to fit closely on the first plate. 

The front plate is drilled and countersunk as 
usual, and has a long screw fitted accurately in 
the center, which screw is pointed as shown, and 
is used in centering work on the plate. It can 
be screwed out some distance from the plate to 



PATTERN PLUG CUTTER 51 

center pieces from their center lines. The outer 
plate can also be removed and small work be 
centered to it much more accurately than is 
possible with the ordinary face-plate. 



PATTERN PLUG CUTTER 

When patterns are put together with screws 
the heads being sunk in to allow for plugging 
with wood plugs. Fig. 54 shows a plug cutter 
and method of using it. 

The cutter can be made of a straight piece of 
tool steel to be held in the chuck, or the shank 
can be made taper to fit the hole in the lathe 
spindle. Some patternmakers attempt to cut 
plugs from any old place on the face of the board 
without any thought as to clearance for cuttings 
or sawdust; this is a mistake. Rip a piece A, 
about 1| inches thick, 3 inches wide and any 
convenient length, and place this on block B 
which rests on the bed of the lathe and is high 
enough so that the top edge of A will be in line 
with the hole in the cutter; this provides a 
clearance so that sawdust may fly off when the 



52 



PATTERNMAKING KINKS 



teeth pass out of the wood at the upper edge. 
After cutting the plugs to the required depth, 
say | or J inch, along the upper edge, or, if 




-4-./^ a? — >j 



Shank to suit spindle 




Fig. 54. — Pattern Plug Cutter. 

desired, along all four edges, take the rip saw 
and cut off and put away in an old screw box 
for future use. 



A SHAVING BOX 
A SHAVING BOX 



53 



With a cheap shaving box, as shown in Fig. 5o, 
heaps of shavings around a wood planer and 
scattered all over the shop can be avoided. It 
answers two purposes: to catch the shavings and 
as a table for lumber. It is mounted on wheels 




Fig. 55. — A Box for Shavings. 

so placed that the handle end is the heaviest; 
this keeps the other end up to the planer bed at 
A, and it is free to move up or down with the 
bed. The slats are made of hardwood § inch 
thick and 1^ inches wide, spaced to allow shavings 



54 PATTERNMAKING KINKS 

to drop through and leaving an opening at B 
for shavings scraped along with the lumber. 
When sweeping up the shop the slats can be 
removed and the sweepings can be put in the 
box and carted away. 



FRICTION DRIVE FOR A BAND-SAW 

In the pattern shop or in any wood-working 
shop where a band-saw is used, the starting and 
stopping ; or in other words the shifting of the 
belt, is a nuisance and is laborious, par- 
ticularly when this is _done several times each 
day. 

Fig. 56 shows a change made on an old 
band-saw for the sake of an experiment, which 
gave good results. The tight and loose pulleys 
were removed and in their place put a sliding 
friction disk and loose pulley. The disk was 
shifted by a lever under which was a flat spring, 
the spring being powerful enough to force the 
leather face disk into contact with the pulley, 
thus driving the saw. The disk was kept out of 
contact when not in use by a hook at the front 



FRICTION DRIVE 



55 




Base 

Figs. 56 and 57. — Friction Drive for a Band-saw 



56 PATTERNMAKING KINKS 

of the machine; a downward pressure and side 
movement of the foot releases the lever and 
allows the spring to act at once. 

Fig. 57 shows the yoke end of the lever fitting 
over the hub of the disk. This ought to interest 
band-saw manufacturers. 



PUTTING A RUBBER BAND ON A 
BAND-SAW WHEEL 

The following directions for putting a rubber 
band on a band-saw wheel may be of interest to 
some. First drive a hardwood pin A, Fig. 58, the 
size of the hole in the wheel, into the bench. 
Fit the f-inch pins B into the bench outside the 
rim of the wheel. Cover the rim of the wheel 
and the inside of the band with Le Page's glue, 
shellac or sticky varnish. Stretch the band 
evenly over the pins B, then draw them out, 
letting the band back to the rim of the wheel. 
Now take a piece of round steel of small diameter, 
like a carpenter's scratch awl, and draw it around 
between the band and rim. Let the wheel stand 
over night. If canvas-back bands are used, the 



HOW TO FOLD A BAND-SAW 57 

pins B must be placed nearer the rim of the 
wheel than if rubber bands are used. 




Fig. 58. — Putting a Rubber Band on Band-saw Wheel. 

HOW TO FOLD A BAND-SAW 

Every man who ever uses a band-saw, and 
every man who may have the job to braze a 
broken one, should know how to fold it. Simple 
as the trick is, it is not an easy thing to discover 
for oneself, and it is equally difficult to find it 
out by watching another man do it, especially if 



58 PATTERNMAKING KINKS 

he wishes to mystify the one who is watching 
him. There is nothing equal to a practical 
demonstration for explaining things of this sort, 
but we have tried here to make it as clear as 
possible with a number of illustrations, and with 
these and a band-saw to practise with the trick 
should be mastered in a few minutes. 

Fig. 59 shows a saw which has been folded as 
required. Fig. 60 shows the beginning of the 
operation with the saw open and in position for 
making the first twist. The lower part rests on 
a clear space on the floor at a convenient distance 
in front of the operator, who stands holding the 
upper part as shown by the hands. It will be 
noticed in Fig. 59 that there are three folds, and 
that of course they cannot lie level all around as 
a broken saw can be rolled. In Fig. 60 the saw 
is twisted in the direction of the arrow, and it 
will be noticed in all the views that the twist is 
always in the same direction. Supposing that 
the saw is held with the teeth away from the 
operator, the first twist turns the part in the 
vicinity of the hands with the teeth towards him. 
If the entire saw is allowed to spring freely while 



HOW TO FOLD A BAND-SAW 59 

twisted in this way, this has the effect of throwing 
the lower part of the saw into two loops as 
shown in Fig. 61; although this really goes a step 
beyond this stage and shows the next twist com- 
mencing. Fig. 62 shows that the effect of the 
first twist can be very simply obtained by merely 
laying the saw on the floor and drawing one part 
over the other; but nevertheless in folding a saw 
it is easier to obtain this effect by a twist as in 
Figs. 60 and 61. Fig. 63 shows how the saw is 
to be twisted after it has assumed the Fig. 62 
position. This final twist when completed allows 
the saw to fall easily into three coils. The two 
first loops form two coils which turn one over 
the other when the third is formed. The third 
coil is formed as soon as the remaining part of 
the saw is twisted completely over. The rings 
then will adjust themselves and will not open 
again unless untwisted. Untwisting can very 
easily be done by any one, although it is seldom 
that a person can discover by carefully opening a 
saw how to fold it again. . 

Fig. 64 shows the operation practically com- 
pleted. The two lower loops are overlapping 



60 



PATTERNMAKING KINKS 



each other with their teeth uppermost, and the 
upper loop still has its teeth toward the operator 




Coiling a Band-saw. 

and merely requires to have them turned upward 
and the loop allowed to fall and adjust itself with 
the other two. Fig. 65 shows the saw completely 



GRAIN OF LUMBER IN PATTERNS 61 

folded but with its coils raised vertically to show 
how they lie. 

1 Saws not in use can be handled and stored 
much more conveniently when folded in this 
way than if they are kept at their full diameter. 
A broken saw can easily be rolled up and 
tied by any one, but an endless saw cannot be 
rolled and there are plenty of patternmakers and 
others who only know how to deal with broken 
ones. In fact, there are plenty of men who 
will spend a great deal of time in trying to fold 
a saw and then only result in breaking it. 
It's a handy thing for any patternmaker to 
know. 



GRAIN OF LUMBER IN PATTERNS 

One thing that few patternmakers seem to 
understand about lumber, and one of much im- 
portance, is, how the grain of the wood can be 
placed to make the pattern most serviceable. 
When quarter-sawed lumber is spoken of, it is 
generally supposed to apply to oak or other hard 
woods, and is understood as meaning a method 



62 PATTERNMAKING KINKS 

only of showing the markings on the face of the 
board. 

But there are quarter-sawed boards in pine 
or any other kind of lumber. A quarter-sawed 
board is one that is cut from the log radially, 
as in Fig. 66. To cut all boards quarter-sawed 
would waste too much of the log, which is the 
reason that only a few boards from each log are 
sawed radially. 

A quarter-sawed board will stay practically 
straight during many changes of temperature or 
humidity. So if you have a thin pattern to make 
that has no ribs to hold it straight, select, if 
possible, a quarter-sawed piece, which can be 
easily done by looking at the grain on the end. 
You may waste a little stock to get such a piece, 
but just consider the convenience of having the 
pattern stay the way it was made. We remem- 
ber an instance of making new patterns to replace 
some that were badly warped. Cleats were or- 
dered put on the new patterns, to be afterwards 
stopped off. The patterns were sent to the 
foundry without cleats, with word that when 
they became crooked, to send them back and we 



GRAIN OF LUMBER IN PATTERNS 63 




FIG. 66 



^^^ 



FIG. 67 



mmm 



FIG. 68 




FIG. 69 




FIG. 70 
Grain in Lumber. 



64 PATTERNMAKING KINKS 

would put the cleats on. But we never saw them- 
again. 

A board like Fig. 67 will not stay straight 
long — which reminds us of the boy who tried to 
plane such a piece straight; the more he planed 
the worse it got, until it began to look as if there 
would be no board left. The boss told him he 
didn't plane fast enough to keep ahead of the 
warping. 

When gluing two thicknesses together, it is 
better to place them so that the grain will lie 
as in Fig. 68, because the warp of one piece will 
counteract that of the other, and the joint will 
not open as readily on the edges as if placed like 
Fig. 69 or 70. 

If you glue one piece across another you will 
get the effect of Fig. 71, unless the glue lets go 
or one piece splits in shrinking. The pull of 
board A in shrinking is often powerful enough to 
bend board B in its length. Cross grain is only 
effective with absolutely dry material of four or 
more thicknesses. 

A pattern like Fig. 72 is more serviceable if 
made with the length cf the bottom piece running 



GRAIN OF LUMBER IN PATTERNS 65 



§« 



-B'" 



FIG. 7 1 




FIG. 74 



How it Affects Patterns. 



66 PATTERNMAKING KINKS 

from one rib to the other, as the bottom will stay 
straight and the ribs will always draw. If made 
like Fig. 73 or 74 you get the effect shown, 
which will distort the ribs so that the pattern 
will not draw. 

If the grain of the wood can be put in pattern 
in the same direction as the line of draft, a slight 
warping will not affect the drawing of the pat- 
tern. This cannot always be clone, because 
patterns so made would be weak in vital parts. 
Distribution of the grain of wood in patterns is 
as much a study as the distribution of metal, 
both equally affecting the utility of their respec- 
tive constructions. 

JUDGMENT IN PARTING PATTERNS 

Figs. 75, 76 and 77 show three views of a 
machine frame to be cast. It is about 30 inches 
high, which will give a sufficient idea of the sizes. 
The common way to part symmetrical work is 
along the axis of symmetry, and this does very 
well with rectangular sections up to a certain 
size, and up to any size with circular sections. 



JUDGMENT IN PARTING PATTERNS 67 




Fig. 75. ■ — Front Elevation of Casting to be Made. 



© 



© 



©. 



M 



7- — )C^TP 



©J 



Fig. 76. — Plan View. 



68 



PATTERNMAKING KINKS 



With the former, the limit is reached with a cope 
of from 4 to 6 inches depth, when a core has to 
be set making thin sides of from \ to | inch in 
thickness. Under these conditions some other 
method of parting should be sought. Undoubt- 




Fig. 77. — Right Hand End Elevation. 

edly, many pattern shops would part the frame 
here shown along the axis A B, with the result 
that when the cope was put on it would have to 
be lowered by the crane at least 10 inches, with 
every possibility of dirt being knocked into the 
mold, nobody knowing how much; neither can 



JUDGMENT IN PARTING PATTERNS 69 




FIG, 80 



FIG. 83 



Parting a Pattern. 



70 PATTERNMAKING KINKS 

the thickness of metal left on either side of the 
core be known. 

Figs. 78 and 79 show the pattern as built to 
help the molder. The parting line is along c c c c, 
with the pieces a, b, e loose and molded in the 
cope. A half-core box, of which Fig. 80 is a 
plan, was made covering d with separate boxes 
for a and the corresponding parts of the nowel. 
After the pattern is drawn the small cores in the 
nowel are set, then the main core; any dirt which 
may be accidentally knocked into the nowel can 
now be easily removed, the thickness of metal on 
the sides may be observed and the thickness of 
stock above the core determined without putting 
on the cope. The cores for a are hung in the 
cope. 

This construction is open to the criticism of 
entailing additional loose pieces, with their at- 
tendant troubles; but the certainty of clean 
castings of uniform thickness justifies the extra 
care necessary in keeping account of these pieces. 

The anatomy of this pattern is shown pretty 
clearly by Figs. 81 and 82. Pieces like Fig. 82 
were first got out, and to them were nailed e, /, g, 



FILLETING WOODEN PATTERNS 71 

etc. These e, /, g were also glued and nailed to 
each other, as they were built up. It will be 
noted that all stock is so attached that the 
pattern draws with the grain of the wood. 

Another source of much trouble is not having 
castings come to size in the improper and insuffi- 
cient means by which loose pieces are often 
attached to the main part of the pattern. We 
recently had a pattern sent to our foundry by a 
customer a section of which was like Fig. 83, 
with the pieces k loose and without dowel pins. 
It must be evident that these pieces could not be 
held in their proper places without pins. Could 
every patternmaker spend six months in the 
foundry many of these little oversights would be 
avoided and much trouble would be saved for all 
concerned. 



FILLETING WOODEN PATTERNS 

It would be difficult, perhaps, to find anything 
like unanimity of opinion among patternmakers 
regarding the real value of the fillet. Still this 
much may be affirmed without hesitation, that 



72 PATTERNMAKING KINKS 

the majority believe in and make free use of it in 
their work. In well-nigh every reputable shop a 
piece of work would hardly be looked upon as 
finished if the corners were left unfilled; and 
certainly only a slouchy, careless workman would 
allow a pattern to leave his hands in such condi- 
tion. 

Many reasons may be assigned for this time- 
honored practice, but the main one is that it is 
a great accommodation to the molder, and also 
ensures a cleaner and more finished casting. 
Leave the corners of a pattern unfilled and the 
chances are that the sharp corners of sand become 
ragged, resulting very often in rough and un- 
sightly castings. It is always best to fill in the 
corners, unless there be some special reason, as 
sometimes is the case, for not doing so. It may 
be added also that sometimes the fillet is used for 
strengthening purposes. The addition of more 
metal in the corners, be it ever so small, greatly 
increases the strength of a casting. Every ex- 
perienced patternmaker can testify to the im- 
portance of the fillet in this particular. 

For all straight surfaces the wooden fillet 



FILLETING WOODEN PATTERNS 73 

answers the purpose very well, providing one 
has nothing better at hand. It is very annoying, 
however, when a person is in a great hurry to 
finish a job, to be compelled to turn aside and 
sometimes spend considerable time in making 
fillets. Then one is tempted to wish that he 
could buy a stock of ready-made fillets, and thus 
obviate both the annoyance and the delay. 

To meet this long-felt want, and at the same 
time do away with the inconvenience, different 
kinds of filleting material have been placed on 
the market, notably the lead and the leather 
fillet. The former has never met with a kind 
reception because it gives too much trouble in 
tacking, does not lie closely to the wood and 
rarely makes what is called a finished job. The 
latter, on the other hand, has met with hearty 
approval as the best thing of its kind in the 
market. It can be easily adjusted to any kind 
of surface, curved as well as straight, is easily 
fastened to the wood by either shellac or thin 
glue, adds to the strength and gives a finished 
appearance to the pattern. In fact, when the 
surface is shellacked, it affords a mahogany effect. 



74 PATTERNMAKING KINKS 

On curved surfaces it lies as snugly and smoothly 
as on straight. And considering the moderate 
cost of this new device, together with the great 
saving of time which its use secures, it certainly 
pays to keep a good supply of it always on 
hand. 

If we dared venture to recommend the best 
filleting material for constant use in all kinds of 
pattern work, we would give preference to the 
leather kind. 

How to Apply Them 

Leather fillets are not new, but how to apply 
them so that they will stick for keeps is sometimes 
a problem. Some advocate the use of shellac or 
thin glue, which is at least safe advice, considering 
the fact that most patternmakers have not free 
access to the jealously guarded office mucilage 
bottle. 

Wood fillets, if for use in right-angled corners, 
should be planed to 93 degrees angle, and are 
so made and sold, and if a real good job is desired, 
put the filleting in a fillet board and curl over the 
edges by sandpapering with a cylinder somewhat 



FILLETING WOODEN PATTERNS 75 

larger in diameter than twice the radius of the 
fillet. By adopting this little kink very little 
rubbing is necessary, provided good, stiff glue is 
used immediately after moistening the outer 
edges only, and it will be found that, when per- 
fectly dry, the edges are there to stay and without 
exposing the usual irregular streaks and patches 
of glue at that. 

As to leather fillets, there is only one way to 
fasten them properly, and that's with glue. 
After dampening the outside, not too much, and 
spreading the glue as evenly as possible, get to 
work with your little steel ball p. d. q. until 
everything is lovely. 

And now just a few "don'ts" on this question: 

Don't saturate a leather fillet with water from 
the grindstone keg before gluing. 

Don't saturate a leather fillet with water from 
the glue pot after gluing. 

Don't slobber glue on a fillet; enough is a 
genteel sufficiency. 

Don't ever use shellac on a fillet; it's a waste 
of good material. 

Don't ever use lead fillets with the idea that 



76 PATTERNMAKING KINKS 

they are the ancestors of the "lead pipe cinch" 
family; it is not so. 



" X-RAY" PATTERN WORK 

The men in the shop called it the "X-ray" 
trick. We were making a number of pulleys with 
five, six or seven arms. Each pattern was made 
in halves for the molding machine, only one half 
pattern was made, and this had to be very accu- 
rate, so as to reverse. We made the pattern as 
nearly as possible correct, but the foreman had a 
slight doubt about it, and he told us to lay it 
on a piece of drawing paper and cut out the arms 
and see if it would reverse. We did this with a 
number of them and found it a great lot of 
trouble to get the paper arms cut out exact, and 
when the cut paper was left over night it would 
change its shape. Then we thought the thing 
over to see if it could not be done some other 
way. We took a piece of ordinary drawing paper, 
placed it on a flat surface and then placed the 
pulley on the paper and traced the arms and 
rim. After tracing, the paper was taken to one 



PATTERN REPAIRS — WAXING 77 

of the windows and put up flat against the glass 
and then the pulley pattern on the paper. In 
this way we could do in two minutes what before 
took a quarter to half an hour 7 and with far 
better results. Now all match patterns are tried 
in this way. 



PATTERN REPAIRS — WAXING 

Much time and considerable money are spent 
every year in most establishments in pattern 
repairs; a number of years spent in the pattern 
shop of a large foundry have proved that to me 
most effectually in one item at least, viz., the 
waxing of patterns. 

Where the vent wire has left its marks, and in 
some cases mighty good sized ones, from constant 
use, instead of wax use plaster of Paris; and if it 
is applied in the proper way it will be found 
more durable, cheaper and quicker to apply than 
wax. Have the pattern brushed clean and apply 
a light flowing coat of yellow shellac, which will 
run in the holes and crevices, and allow it to dry. 
Take a block of wood 5x5x2 inches thick, bore 



78 PATTERNMAKING KINKS 

a 2-inch hole 1J inches deep, and you have your 
receptacle for holding and mixing your plaster. 
Fill two-thirds with plaster, pour in your shellac 
and mix until a thick paste is formed. It is now 
ready to apply. Work well into all vent holes 
and cracks, smooth all off, and allow 30 minutes 
to 1 hour to dry. Sandpaper what projects above 
the surface, and your pattern is ready for var- 
nishing. You will be surprised at the finish and 
durability of your pattern, besides a big item in 
reduction of expense. 



A QUICKLY MADE FLY-WHEEL PATTERN 

We were asked to make a wheel of about the 
design and dimensions as shown in sketch, Fig. 
84. The man wanting the wheel did not wish 
to expend much money on the pattern, as it was 
only for an experiment and might not be used 
again. For the rim we used lead pipe, which 
was filled with sand and bent around an old 
boiler shell; the spokes were made of 1-inch dowel 
pins, laying in the mold pieces of 1-inch wrought 
iron in their places, and the hub was sawed out 



PLANING TAPER CORE BOXES 



79 



on a band-saw. For a cheap job it worked quite 
well. 




Fig. 84. — A Quickly Made Fly-wheel Pattern. 



PLANING TAPER CORE BOXES 

We had a taper core box to make of wood, 
the other day, and after putting it in the hands 
of the patternmaker we watched his preparations 
with interest, which increased when he reached 
the planing stage, and, as his plane and method 
were both new to us, and may be to others, we 
will describe them, so that those who are unfa- 
miliar with the scheme may profit by his example. 

His plane is made with an angle of 83 degrees 
16 minutes, instead of the regular 90 degrees of a 



80 PATTERNMAKING KINKS 

right angle, and in practice he lays out the semi- 
circle of the core box and the ends, and fastens 
upon it, with brads, strips of hardwood having 
straight edges upon the inside and touching the 
points where the ends of the semicircle cut the 
edges of the blank. The thickness of these strips 
must be T V of an inch or fractional parts thereof 
for each inch in diameter the core box is to be. 

By this method he secures a finished core box, 
with good sharp edges, which result is accurately 
obtained without the use of templets or other 
instruments. All the wear of the plane comes 
upon the hardwood strips, which save the edges 
of the core box from becoming rounded, and it is 
especially of value in generating the surfaces of 
taper core boxes, in which case he makes his 
hardwood strips the same taper in sixteenths 
which he wishes the core box to vary by in inches 
of its diameter. 

It is evident that any fractional basis may be 
assumed which is most convenient for the work 
generally handled, so that instead of adding guide 
strips of a thickness in sixteenths equal to the 
diameter in inches, they may be assumed of a 



PATTERN SHOP WRINKLES 



81 



thickness in tenths equal to the diameter in 
inches, and this would put the calculations in 
decimals. Of course the angle of the plane for 
such a fractional basis "would have to be calcu- 
lated, and, as the value of the fractional basis was 
increased the angle would decrease. 

The sketch in Fig. 85 gives an illustration 




Fig. 85. — Planing Taper Core Boxes. 

of the adaptation of this old proposition, in which 
A A are the strips of hardwood and the angle of 
the plane sides is shown by the dotted lines. 



PATTERN SHOP WRINKLES 

Fig. 86 may represent any core box of consid- 
erable size, having a loose piece or bar running 



82 



PATTERNMAKING KINKS 



across it even with the top, this piece having to 
be removed before the box is turned over and 
lifted away from the core. Bore two f-inch holes 
A A at an angle and f inch or more deep, when 
the size of the bar will admit of it, to accommo- 
date the coremaker's thumb and finger when 
taking out the piece. This saves driving a draw 
spike into the part. 









OA 

Ca 





> i 



Fig. 86. — Thumb Holes for Drawing a Loose Piece in 
Core Box. 



Fig. 87 shows a handy form of hanging box 
for brads. It is made of tin, about 7x4x1 inch. 
When a row of these hang back of the bench, 
labeled with the different sizes, the wire nails are 
out of the way, and the box containing any 
length wanted can be placed flat on the bench 
while being used, and then be returned to the 
hanging position without any danger of spilling. 



PATTERN SHOP WRINKLES 



83 



Fig. 88 shows a face-plate having three holes, 
| inch or more in diameter, drilled into a suffi- 




Fig. 87. — Nail Box to Hang up or Lay Down. 




Fig. 88. — To Unscrew Face Plate of Wood Lathe. 

cient depth, at equal distances in the hub, and a 
spanner is made to fit, about 18 inches in length. 



84 



PATTERNMAKING KINKS 



This is handy for removing, when a little too 
tight to start by hand, and yet not "dead set/' 
as we say. 

Fig. 89 illustrates a case where a web to go in a 
large pattern, which may be either circular, rect- 
angular or otherwise, according to circumstances, 
is to be made in strips set about J inch apart, to 



Fig. 89. — Gluing up a Web for a Large Pattern. 

counteract as much as possible the tendency to 
shrink or swell. Instead of gluing the short 
separating pieces at intervals through the middle 
of the pattern, as it is necessary to do at the 
ends, use pieces of doweling as shown by dotted 
lines, and no glue. This will keep the strips in 
the same plane and at the same time allow them 



PATTERN SHOP WRINKLES 85 

their freedom if subjected to extremes of moisture 
or dryness. 

When a loose piece is used, it occasionally 
happens that some means must be employed to 
have it keep absolutely in its exact position while 
being rammed, without any possibility of shifting, 
as there is when wires are used to hold it; espe- 
cially when the piece is long in proportion to its 
bearing surface. Fig. 90 shows an idea sometimes 
used in shops on a particular piece, for this 
very purpose. 

It consists of a clamp A and two plates B B, 
Fig. 90, which can be round, square or rectangular, 
according to circumstances. When the nature 
of the work will admit of it, round ones are 
preferable, for they fit a hole made by an extension 
bit. The part d of clamp A is threaded a short 
distance, and the length from end to shoulder 
must be made to fit any particular case, being- 
enough longer than the loose part on pattern, to 
screw into the plate having the tapped hole; the 
other plate has a drilled hole just the diameter of 
d beyond the thread. The other portion of A is 
of any convenient length. Sometimes it is made 




o 
o 

g 



PATTERN SHOP WRINKLES 87 

long enough to stick through the outside of the 
flask. 

The section view in Fig. 90 shows the method 
of using. One plate is screwed flush into the 
pattern, and has a hole tapped to fit the key or 
clamp. The other plate is screwed flush into the 
loose part and has a plain hole. This hole is 
continued through the loose piece. When the 
clamp is screwed up, the shoulder binds against 
the plate on the loose piece and presses it so firmly 
against the pattern that no amount of ramming 
will disturb its position, and when the sand is 
thoroughly packed against the part it can be 
easily unscrewed without disturbing anything. 
This arrangement is, of course, intended to be 
used only in special instances. 

Fig. 91 is a block in which to rest a flat chisel 
while turning a piece of some length to a given 
diameter, if it is necessary to have it very smooth. 

A patternmaker, when holding a pair of calipers 
in one hand and a flat chisel in the other, gets a 
scraping cut, but a little block like the cut causes 
the chisel to lie at an angle and makes a smooth, 
drawing cut. Chisel and block are to be held 



88 PATTERNMAKING KINKS 

together in the hand against the rest as one 
piece. 

It is hard to clean the machine tools in a 
pattern shop with a brush, especially a lathe 
having a carriage, and for removing sawdust, 
shavings, and turnings from the irregular outline 




Section 

of 
Block 



Fig. 91. — Block to Guide the Flat Chisel in Wood 
Turning. 

of wood-working machines a pair of bellows 
works to perfection, and makes the particles jump 
from behind the corners as if by magic. 

A quick way of getting the number of feet in a 
piece of inch stock for a pattern is to multiply 
the product of the length by the breadth in 
inches by 7 and point off three places, instead of 



PATTERN SHOP WRINKLES 89 

dividing by 144. This is not absolutely accurate, 
but near enough for all practical purposes in 
measuring small amounts. 

For example, take a board 18 inches long and 
8 inches wide: 18" X 8" -f- 144 = .1 square foot; 
18" X 8" X 7 = 1.008 square feet. The error is 
.008 of a foot when using the multiplier 7. 

Again, take a board 7 J feet by 16 inches: 
90" X 16" ~ 144 = 10 square feet; 90" X 16 X 7 
= 10.080 square feet. This time the error is ten 
times as much, but still only .08 of a foot out of 
the way in a 10-foot board. 

When measuring thicker stock than 1 inch by 
this method, multiply the length, breadth, and 
thickness in inches together; then use 7 for a 
multiplier, as before, pointing off three places. 
In effect this method is expressed thus: Cubic 
inches X .007 = square foot board measure. 

In many shops the backs of all loose pieces are 
painted red, and the corresponding place on the 
pattern painted to match. When these loose 
parts are circular in outline, with one wire or 
wooden stick of doweling through the center to 
hold them in place, the shape can be instantly 



90 PATTERNMAKING KINKS 

transferred to the pattern by first painting the 
back of the loose piece, and, while it is still moist, 
placing it in position on the pattern and turning 
it around a few times with a light pressure. Even 
if these round bosses do not bear fairly against 
the pattern over their entire surface, if they 
touch on the outer edge the shape is printed and 
the center can be easily filled in without especial 
care, but to follow a line exactly with a brush 
without a rest for the hand is difficult for most 
persons. 

Sandpaper can be used for truing an oilstone 
when emery cloth or loose sand is not handy, but 
it works very poorly when dry. Place the sand- 
paper on a board and keep it wet with water, 
rubbing the stone vigorously at the same time. 
The water seems to keep the sandpaper from 
clogging up, and it cuts the stone much more 
rapidly, but a single sheet will not last very long, 
as the water loosens the sand and softens the 
glue, so the stone must be washed off as soon as 
ground true so that no glue may remain. 



CIRCULAR PATTERN WORK 91 

CIRCULAR PATTERN WORK 

Many different shapes and sizes of circular 
patterns may with advantage be prepared for 
the molder's use by the method about to be 
described. This method is of equal value as a 
time-saver whether 6 or 1000 castings are wanted 
from the pattern made. It has also the advan- 
tage of providing directly for the molders 7 use a 
pattern equal in every respect to a plate pattern, 
and which may in many instances be worked by 
comparatively unskilled labor. Fig. 92 is a plan 
and section of a casting of which 1000 were 
wanted. Fig. 93 shows section and plan of the 
drag part of the pattern, which is prepared by 
first truing up a suitable board and chucking the 
same in the lathe. The convex side of the 
pattern is fastened on to the board and turned 
down so that the board serves as a joint when 
used in the molding shop. 

The pattern used to form the concave side or 
top part of the mold is prepared similarly to the 
drag, with the exception that the board is made 
sufficiently thick to allow the contour of the 



92 PATTERNMAKING KINKS 

pattern to be turned out of its face. At B is 
shown in section the top part of the pattern. 
C is the drag part of the pattern complete. The 
pin guides A A are set on the center line and at 




Fig. 92. — Sample Circular Casting. 

equal distances from the center of the pattern 
board. These guides fit corresponding pieces on 
the snap flask used to make these molds, and 
similar guides are fitted to the top part of the 



CIRCULAR PATTERN WORK 



93 



pattern board. To make a mold, the two pattern 
boards are placed side by side and both drag 
and cope are rammed up together. The drag is 
turned over, the pattern rapped off, and the top 




Fig. 93. — Plan and Section of Pattern. 

part is lifted off the pattern and placed on the 
drag. The flask is next taken off the mold and 
the weight is placed on the top. This leaves the 
mold, as in Fig. 94, ready for pouring. 



94 PATTERNMAKING KINKS 

A PATTERN MAKING ITS OWN CORE 

The sketch, Fig. 95, is for a brass casting for 
which a pattern was made. The way in which 
the pattern was made and the molding will be of 
interest, though to some it may be an "old joke." 

Four castings were wanted in a rush. The 
boss, molder was consulted and he said, " If you 
make the pattern for a two-part flask I will have 
them for you this afternoon." He instructed us 
to make the pattern as here shown, with parting 
and core prints and core box. This was done 
and the castings came true to pattern and on 
time. The pattern was placed on a board, cope 
side down, and the drag was filled with sand and 
rammed up to line A B. Next C (part of pattern 
and print) was lifted out of the sand, and in 
place of the core print a dry sand core was placed, 
after which the drag was filled, struck off and 
rolled over. The cope was placed on, rammed up, 
lifted off, the pattern was drawn and the cope 
then replaced. 




!:■-->:; " ",.' : l 



Fig. 94. — Section of Mold Complete. 




Fig. 05. — Pattern that Makes its own Gore. 



98 PATTERNMAKING KINKS 

CONE PULLEY PATTERNS 

This method requires only a stock core through 
the hub. It will save time to use two face-plates, 
building up part way on the first, having the 
remainder on the second plate, and finally remov- 
ing the latter piece and fastening it to the first. 
The complete core is shown in Fig. 96. 

On segment work calculation should be made 
so that when the job is turned there will be no 
layer so thin that it will peel up in the damp 
sand. This is easily avoided by deciding on the 
thickness and number of the layers in the first 
place, as indicated in Fig. 97. Build up from 
the small end as far as d d on one face-plate, and 
turn the inside to the correct dimensions. On the 
outside, just rough-turn nearly to the size, and 
detach. The reason we advocate two face-plates 
is that all segments can be gotten out at the 
same time, and while the glue on one layer is 
setting, another layer can be worked on the other 
with no lost time. 

Fig. 98 shows the cuts on the three pieces to 
be framed together for the arms. They are all 



CONE PULLEY PATTERNS 97 

cut at an angle of 60 degrees with the edges of 
the pieces and tangent to a circle of a diameter 
equal to the width of the stock. Gage both edges 
of each piece into three equal divisions, and 
describe a circle in the center on both sides of A 
and one side of B and C, then lay out the lines 
tangent and make the cuts as indicated. B and 
C are exactly alike. Have them fit loosely before 
gluing, as," when tight joints are made, the pieces 
B and C invariably spring outward from the 
plane in which they should lie. 

In order to get fillets on the ends of the arms, 
cut them a little short, and then fasten on pieces 
of hardwood, as shown in Fig. 100, with the grain 
running in the opposite direction for strength. 
By attaching the arms just mentioned to a small 
face-plate not greater in diameter than the hub, 
the taper of the spokes on both sides and the 
fillet on the under side can be turned. Doing 
this in the lathe insures all the arms being in the 
same plane, so that they lie flat when in position. 
Also square off the ends to the right diameter, 
allowing at least | inch to fit the pockets to be 
cut on the inside of the second step of the cone, 



98 



PATTERNMAKING KINKS 



as they must be loose. Before taking the face- 
plate out of the lathe, after turning the inside of 




FIG. 99 
Making a Core Pulley Pattern. 

the first two steps, strike a circle the same diam- 
eter as the ends of the spokes were turned, in 
order to place them correctly. 



CONE PULLEY PATTERNS 99 

The outline of the spokes or arms previously 
framed together should now be laid out and 
sawed. Then place in position in the pulley, 
and use it as a guide to mark the width of the 
places to cut out. It is easy to cut them now, 
before the last two steps are added. After they 
are ready to receive the arms, glue on the last 
two steps previously laid up on the second face- 
plate, remembering to break joints, and set the 
whole on a level surface, large end of cone down- 
wards, and place a weight on the top of the face- 
plate still adhering to the small end of the cone, 
until the joint is set. In turning, observe the 
draft in Fig. 97, somewhat exaggerated. The 
inside of the small step is tapered the other way. 
Two degrees taper on the inside of the steps and 
one degree on the outside gives a very liberal 
amount. The hub on the cope side (towards the 
large end of the pulley) should be loose and fit 
the arms with a standard size spindle or shank. 

It is considered good practice on nearly all 
kinds of pulleys of any size to make all hubs 
interchangeable and to have a standard sized hole 
through the center of the web or arms, as the 

tore, 



100 PATTERNMAKING KINKS 

case may be, to fit the shank on the hubs, and 
also a hole in the hubs themselves, to accom- 
modate different core prints. Some shops have 
1J inches as a standard for the spindle or shank 
on all hubs, and f inch for all core prints. Some 
standard should be employed, as it is so great an 
aid in changing core prints and hubs to accom- 
modate different conditions. 

To facilitate molding, saw out a round piece of 
board and nail a couple of strips to it, as in Fig. 99, 
making the hight equal to X on the cone. The 
cone is set on the mold board, large end down- 
ward, with the arms removed, and the piece K 
inside, reaching a a, Fig. 97. Then the nowel is 
rammed, after which turn the flask, remove K, 
and complete the ramming. The next parting 
will be on a level with the spokes, and this section 
of sand has to be lifted with a crab. 

The cope extends downwards as far as the 
spokes, and meets the division of sand just men- 
tioned. The loose hub comes up with the cope; 
then the spokes holding the nowel hub can be 
drawn, next the sand cake on the crab, and lastly 
the pattern itself. 



MAKING CAM PATTERNS 101 



MAKING CAM PATTERNS 

Having been at one time in a locality where 
great numbers of cam patterns were made for 
automatic machinery, such as wire-forming ma- 
chines, hook machines, etc., where in some 
instances quite a large number of cams would be 
needed on the same machine, all varying some- 
what but each of the same general type, we will 
attempt to describe the practice as there em- 
ployed. 

Fig. 101 illustrates the style of cam referred to, 
often called a face cam. When not over a foot 
in diameter these patterns are of simple construc- 
tion, nothing being done, in the way of narrow 
strips or segments, to prevent warping and shrink- 
ing; for the castings are machined all over or very 
nearly so, and a liberal finish is left on the 
patterns. 

Each pattern consists of three pieces of wood 
until after the lathe work is done: one for the 
hub and two for the body. The disks for the 
bodies are band-sawed from the plank and planed 



102 PATTERNMAKING KINKS 

on one side on the buzz planer. The disk a, 
Fig. 101, is attached to the face-plate, and faced 
off to x y. Then disk b is screwed to a, and 
both pieces are turned as one. The hub c is of 
course separate, recessed into b, making a loose 
piece as it is cast in the cope. A templet, cut 
with scissors from very thin metal known as 
"button covering," accompanies the drawing and 
is the exact outline of the inner edge of the cam 
groove. This templet later goes into the machine 
shop, and is used there in laying out the shape on 
the blank former which goes in the cam-cutting 
machine. The patternmaker places the templet 
in the right position on the face of the blank just 
turned, and holds it with a few fine wire brads. 
Wherever in the templet outline there is an arc 
of a true circle, the fine center point is still 
visible which was used in laying it out. This 
now comes in play as the position for the divider 
leg. The dividers are set, leaving a radius at 
least J inch greater for finish for the inner curves, 
and J less for the outer curves of the slot or 
groove. Wherever no true radius comes, set the 
dividers J open and scribe around the templet, 




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104 PATTERNMAKING KINKS 

then spread them properly for the other outline, 
and use as before. At least two brads must now 
be placed within the outline of d, long enough to 
locate it on disk b. The part a is still in one 
piece, and is next marked for replacing, and 
unscrewed from b, and the internal face of the 
groove in it is band-sawed and smoothed up. 
Usually a large part of the edge of d can be 
finished on the sandpaper disk wheel when one is 
available. 

The body of the cam is now assembled in its 
former position, the screws and brads locating it, 
and this time it is fastened permanently, the place 
made by the saw blade being filled with a little 
spline. This completes the pattern proper, all 
except shellacking, etc. 

A very cheap blank pattern, about j inch in 
thickness, is next sawed out, the shape and size 
of the metal templet, with finish added. This 
makes the form to go in the cam-cutting machine 
in the machine shop and is fastened to one spindle, 
and the cam itself is attached to another, while 
both turn in unison as the cutting progresses. 

Fig. 102 shows a method of making the common 



PATTERN FOR A STRAINER 105 

barrel cam, having the groove cast in, which is 
sometimes adopted on cheaper grades of work. 
The pattern work consists of two separate pat- 
terns, the castings made from them being fastened 
together by screws on line a b. This allows the 
groove or slot to be cast without a core, and saves 
milling out the slot from the solid when a core is 
undesirable. 

Cams made in this manner can be used with 
the cam surfaces just as cast, or they may be 
finished, according to circumstances, and this 
form admits also of taking up wear by facing off 
a trifle on a b. 



A PATTERN FOR A STRAINER 

Having received an order to make a pattern 
for a strainer, 24 x 12 x 12 inches, and put in it 
as many J-inch holes as possible, the metal to be 
J inch thick (Fig. 103) the most particular part 
of the job was that it had to be made cheaply 
and in a rush. Also the holes were to be cored 
through, so as to avoid any extra chipping on 
the casting. We made a box out of IJ-inch pine; 



106 



PATTERNMAKING KINKS 



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inside dimensions were 12} x 12} x 12} (Fig. 104) 
and made three pieces out of }-inch stock 12 x 12} 
inches, and perforated them with ^-inch holes, 
seeing that all holes had plenty of draft (Fig. 105) 
We fastened them in the box, one at the bottom 
and one at each of the adjacent sides (Fig. 106). 




FIG, 1 09 Sectional View of Cores 
Placed on Swept up Bed 



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FIG.IIO Top View of Cores after 
being Placed in Mold 

Making a Strainer. 

Notice that the core box comes apart at the 
corners, and also the bottom board is separate, 
which enables the coremaker to dry the core on 
the plain side. He should also see that he places 
a rod in the top part of the core so as to form a 
hook, enabling the molder to handle it easily. 
We made a core box 28 x 12} x 2 inches (Fig. 107). 



108 PATTERNMAKING KINKS 

After four cores are made out of each box, all 
the molder needs do is to strike up a bed in the 
sand and place the four cubic cores together, 
seeing that the plain faces come on the joints 
and on the top of the mold. After placing cores 
properly, place the cake cores around the cubic 
cores; then ram green sand around the outside, 
and the mold is completed with the exception of 
striking a plain cope to place on top. 

ENLARGING AN OLD FLY-WHEEL 
PATTERN 

The sketch, Fig. Ill, shows a fly-wheel whose 
rim is to be enlarged § inch all around. Now, 
there are two ways of doing this work. One is to 
find the center of the wheel, rechuck it upon a 
face-plate in the lathe; then, facing the outside 
surface of the rim, glue thin segments all over it. 
These may later be turned down to the required 
thickness. To follow such a method involves too 
much outlay of time and labor, to say nothing 
about whether the work can be satisfactorily done 
in this way. One thing is sure: it would be a 



ENLARGING AN OLD FLY-WHEEL 109 

most difficult task to re-chuck a large wheel so as 
to have the rim run half-way true. The tendency 
would be to wabble badly. 

Unquestionably the quickest and most satis- 
factory method is to take the old wheel just as it 




Fig. 111. — Lagging up an Old Fly-wheel. 

stands and nail on the surface pieces of thin slab 
of pine or white wood, say -f inch thick, 9 inches 
wide and of the same length as the width of the 
rim. This can be easily done and should any 
trouble be experienced at all it is liable to come 
in bending the thin slabs over the surface. 



110 PATTERNMAKING KINKS 

Sometimes these are apt to split, particularly if 
the curve is a little sharp. Let the slabs be hol- 
lowed out on the under side as at A; then they 
can be easily nailed on the surface of the rim, as 
shown in cross-section at B, without the least 
fear of splitting. They bend with the utmost 
ease. To hollow out the slabs pass them side- 
ways over a circular saw in motion and but few 
minutes will be required to do it. With this 
hollowing-out process there is absolutely no need 
of a gouge or round plane, the circular saw will 
do the work quicker and better. Slabs thus 
treated become quite pliable, and when firmly 
nailed can be trimmed off even with the sides of 
the rim. Then the whole may be sandpapered 
and varnished, making on the whole quite a 
respectable job. 

RIG FOR BORING OUT LARGE CORE 
BOXES 

We had to have a large number of barrel cores 
ranging from 17 to 22 inches in diameter and 
about 6 feet long. It was very essential that the 



BORING OUT LARGE CORE BOXES 111 

cores should be just the proper diameter and 
perfectly cylindrical. 

We had been using wooden half core boxes 
made in the usual way. These were constantly 
getting out of shape from the severe handling by 
the coremakers, swelling of the wood, etc. It 
was finally decided to make a cast-iron core box 
as shown by the sketch, Fig. 112; this was made 
large enough to allow for lagging up inside with 
wooden staves. The cast-iron box was planed 
off true on the upper side. As there were con- 
tinually different sizes of cores wanted ranging as 
stated above, we concluded to get out a rig for 
boring out the box. The rig when once fitted to 
the box was easily taken off and put on again, 
the straps bored out to form bearings for the bar 
being held in place by cap-screws, and the bearings 
being so fitted that they would bring the boring 
bar exactly in the center of the box. The bar 
consisted of a piece of cold-rolled shafting 1^| 
inches diameter and about 8 feet long. On one 
end of the bar was fastened a grooved collar to 
which the feed lever was attached; both collar 
and lever were taken from an old friction clutch 



112 



PATTERNMAKING KINKS 




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BORING OUT LARGE CORE BOXES 113 

countershaft found in the iron shed. On the 
other end of the bar was mounted a pulley about 
14 inches in diameter and 4 inches face. On the 
bar, between the bearings, was placed the tool- 
holder which was so constructed as to permit it 
to be easily clamped at any point on the bar. 
With this arrangement we could bore a length of 
about 18 inches, then would draw the bar back, 
move up the tool-holder and cut another 18 
inches, and so on until the full length was fin- 
ished. In order to drive the bar, we set the 
core box and rigging on trestles in front of 
the patternmaker's lathe, and drove it by a belt 
from a roll mounted in the lathe and which 
was about 8 inches in diameter and 2 feet long. 
The belt moved along on the roll as the bar 
was fed back and forth. In this way we could 
get any speed desired from the cone pulley on 
the lathe. 

The rig worked very well, made a very accurate 
core box and took only a fraction of the time 
which would have been required to work it out 
by hand. When a different size box was wanted 
we simply took off the ends, removed the old 



114 PATTERNMAKING KINKS 

lagging and put in new, put on our rig and bored 
it to the required diameter. 



STOPPING OFF A PATTERN 

Here is a sketch, Fig. 113, showing how we 
made a 5-foot casting off a 9-foot pattern in a 
6-foot flask without cutting the pattern. We 
first took the pin off one end of the cope, as, the 
top being a flat surface, a slight shift would not 
matter; or, to avoid this, we could have bored a 



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Fig. 113. — Molding Piece Shorter than Pattern. 

hole through the pattern to clear the pin. The 
pattern was rammed up in the usual way, only 
the drag was raised from the board the thickness 
of the pattern, and the pattern projected from 
the end of the flask. After the cope was taken 
off and the pattern drawn, we stopped off as 
marked by line A B. We did not want to cut 
the pattern, and we did not have a spare flask 



SAVING PATTERN WORK 115 

long enough to take all the pattern, so this was 
a case of necessity. 



STOPPING OFF AND SAVING PATTERN 
WORK 

The term "stopping-off/ 7 as used in the pat- 
tern shop, means that some part or parts appear- 
ing on the pattern itself are not to be reproduced 
in the casting. An understanding of this principle 
of stopping off will often save a number of dollars 
in the pattern shop, when a special job is required 
similar to some pattern already made, and yet 
unlike it in some particular. Quite often the 
expense of a new pattern is saved by a little 
study along this line. It is our purpose to illus- 
trate a few cases, beginning with the simplest 
and leading up to one or two a little more 
difficult. 

The part of a pattern to be stopped off may 
be either some supplementary portion, used for 
strengthening or other purposes, or it may be 
some part of the pattern itself; but, in all cases, 
the term implies a filling up of some part of the 



116 PATTERNMAKING KINKS 

mold as made by the pattern, which is the real 
"stopping off." 

The very simplest examples possible are those 
where some part of the mold is filled up level, as 
indicated by patterns in Figs. 114 and 115, The 
first figure illustrates a thin pattern requiring 
battens to hold it in shape. The second is thin 
work also, but it has a stop-off block, to accom- 
modate good-sized screws for holding the draw 
plate. It is perfectly plain that any hub or boss 
on a pattern can be left off the casting in this 
manner. 

Different pattern shops have different signs to 
indicate to the molder what is to be stopped off. 
Some paint the part a different color, some cross 
hatch the part with parallel lines in another color 
with the shellac brush, others simply paint the 
words "Stop Off" on the part, while still others 
will cross line the part with chalk. Chalk is very 
commonly used where the part to be stopped off 
is some part of a regular pattern and only used 
once in this special manner. 

Fig. 116 is an example of a pattern to be 
parted on the line A B and having a thin piece 



SAVING PATTERN WORK 117 

C on the cope side attached with dowels. If it 
were not for the stop-off brackets D to steady 
the piece ; it would be sure to be rammed out of 
place in molding. It will be seen that the cavities 
left in the mold by the brackets must be filled up 
even with the parting line, and at the same time 
a piece of board must be lowered into the cavity 
made by the wing C on the pattern, and held 
opposite the bracket opening as a backing for 
the sand while filling up, for it is only the bracket 
places that are to disappear. 

Fig. 117 illustrates a principle very often used, 
and may represent almost any pattern where we 
wish to use a plain round stock core at a con- 
siderable depth from the parting line A B. The 
"heels/ 7 or sometimes called "finger prints," D D, 
reach from the desired position of the core to the 
parting line and make an opening in the mold to 
admit and sustain the core. A board E, called 
the "stop-off piece/' must be used in this case, 
as in Fig. 116, but here we cut a semicircular 
opening in the bottom edge to rest over the core, 
while filling in the places made by the prints 
D D. If this were not done, the bottom edge of 



118 PATTERNMAKING KINKS 

the piece E would rest on the top of the round 
core, and as the piece is placed inside the body 
of the mold on the line x y, covering the space 
D, there would still be an opening around the 
core for the sand to fall through into the body 
of the mold. 

Fig. 118 is a familiar example of a pipe pattern 
which is to be stopped off to a shorter length. 
To do this, simply nail on a temporary flange to 
each half, as per the dotted lines, and make the 
stop-off piece shown below at A, to place in 
mold, the part c being the same size as the core 
print on the pattern, and the flange part d the 
diameter of the temporary flange fastened to the 
body of the pattern. With this piece in position 
the part of the mold which represents the flange 
on the end of the pattern is filled in, and also 
what would otherwise have been a part of the 
pipe body between it and the new flange. It will 
be noticed that the same core can be used without 
any changing for the different lengths of pipe. 

Frequently it is desirable to make a leg casting 
for some special machine shorter than the regular 
pattern on hand, and at the same time not injure 



SAVING PATTERN WORK 119 

the pattern by cutting it. Much the same prin- 
ciple is involved here as in the pipe example 
mentioned above. Attach new feet temporarily 
at the position desired, and make a stop-off piece, 
just the size of one of the new feet, for the molder 
to place in the mold while filling up the part 
beyond it that is not wanted. 

Fig. 119 shows how to make a pulley or a 
wheel of a smaller diameter than the original 
pattern without injury to it. Turn up a rim of 
the diameter required, fit it over the spokes as 
shown by the dotted lines, and saw a curved 
board, shown in section at A, for a stop-off, to 
place in the mold to fill up the spokes, or arms 
projecting beyond the new rim, the outside radius 
of A matching that of the new pulley. 

Fig. 120 shows a somewhat different case than 
either of the preceding. It is a bushing pattern, 
18 x 6 inches, with a straight 4-inch core, and we 
wish to stop it off to produce the casting shown 
at C, which is 12 x 6 inches, having a chambered 
core 4 inches diameter with ends 3 inches diam- 
eter. The requirements are, to use the pattern 
and core box A and B, without injury to either. 



120 



PATTERNMAKING KINKS 



We simply need a piece D for the mold and 
two semicircular shells E, one for each end of 






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FIG.nG 



FIG. 120 

Stopping off to Save Pattern Work. 



^ 



the core box, to reduce the diameter to 3 
inches. 



SAVING PATTERN WORK 121 

The left-hand flange on D is the diameter of 
the core print on the pattern, the right-hand 
one the diameter of the body of the pattern, and 
the intermediate portion that of the holes in the 
ends of casting C. This piece will have to be 
placed in the sand four times to fill against — 
£>nce in each end of each half of the mold. The 
thickness of the flanges is immaterial, but the 
diameters and the lengths, 5J inches, must be 
preserved. 

The left-hand flange of D leaves the mold 
larger than the end of the core, but this makes 
no difference, as it comes at the extreme ends, 
and there will still be plenty of support for the 
ends of the core. 



INDEX 

PAGE 

Adjustable round-soled planes 45 

Angular tool-post for lathe , . 15 

Band-saw, friction drive for 54 

how to fold 57 

putting band on a 56 

Barrel cam patterns 104 

Block for turning tool 87 

Boring large core boxes 110 

Box for brads 82 

for shavings 53 

Brads, box for 82 

Buzz planer thickness gage 33 

Calipers for large work 31 

Cam patterns 101 

Centers for patternmakers' lathes 1 

Chest for tools 19, 21 

Circular work 91 

Combination tool 40 

Cone pulley patterns 96 

Core box kinks 81 

boxes, boring 110 

boxes, planing taper 79 

making its own 94 

123 



124 INDEX 

PAGE 

Corner rounding tool 18 

Cutter for plugs 51 

Dowel rods 29 

Enlarging fly-wheel pattern 108 

Face cam patterns . 101 

plate for lathes 30 

wrench 58 

Filleting wooden patterns 71 

Fillets, lead 73 

leather 73 

wooden 74 

Fly-wheel pattern, enlarging 108 

quickly made 78 

Folding a band-saw . 57 

Friction drive for band-saw 54 

Gage for buzz planer 33 

hight 36 

scratch 48 

surface 48 

Gages for patternmakers 38 

Gouge sharpener 31 

Grain in lumber 61 

Hight gage 36 

Holder for loose pieces 85 

Judgment in parting patterns 66 



INDEX 125 

PAGE 

Lathe centers, patternmakers' , 1 

for patternmakers 5 

tool post 15 

tools 9 

Lead fillet 73 

Leather fillet 73 

Letter mold 42 

Loose piece holder for patterns 85 

Lumber, grain in 61 

required, quick method 88 

Making its own core 94 

Mold for pattern letters 42 

Parting patterns, judgment in 66 

Patternmakers' lathe centers 1 

Planes for patternmakers 44 

Planing taper core boxes 79 

Plug cutter 51 

Pulley patterns 76 

cone 96 

Pump repair pattern 41 

Putting band on band-saw wheel , . . 56 

Quarter sawing of lumber 62 

Quick calculation for stock 88 

Quickly made fly-wheel pattern 78 

Repairs to patterns, waxing , 77 

Round-soled planes 44, 45 

Saving pattern work 115 



126 INDEX 

PAGE 

Scratch gage . 22, 48 

Sharpener for gouges 31 

Shaving box 53 

Small planes 47, 44 

Square feet of lumber, quick method 88 

Stopping off patterns 114, 115 

Strainer pattern 105 

Surface gage 48 

T square 22 

Taper core boxes, planing 79 

Thickness gage for buzz planer 33 

Tool-chest 19 

for rounding corners 18 

post for lathe 15 

Tools for apprentices 23 

for patternmakers' lathes 9 

for turning 3 

Trammel bar 33 

Turning tool block 87 

tools 3- 

Waxing patterns to repair 77 

Web made of strips 84 

Wooden fillets 73 

patterns, filleting 71 

X-ray pattern work ._.,.,,., 76 



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